The portrayal of the five heroines of Disney films progressed with time but having always a happy ending after following their own dreams and fighting for them against everyone. This study displays the perception into the Disney princess films in conformity to the feministic ideologies that Disney would track. It started off with Cinderella to Sleeping Beauty. These films have parallel traits to how the heroines are portrayed. They are mutually a typical 20th century housewife in America.
The Little Mermaid: Hegemonic Femininity The transition from a girl to a woman is created by the socially constructed ideals of femininity often depicted in commercials, books, and mainly films. One of the famous animated princess Disney films, The Little Mermaid can be easily added to yet another Disney film portraying hegemonic femininity. In the 1989 film The Little Mermaid, (Ron Clements, John Musker) a beautiful, young mermaid is willing to make a risky deal with an evil sea-witch because she yearns to walk on land and fall in love with a Prince, while secretly the sea-witch wishes for the mermaid to lose the deal. Ultimately, mermaid ends up achieving her dream of marrying the Prince, although the evil sea-witch tries to destroy the plan. Throughout the fantasy/ melodrama film, the main protagonist Ariel reinscribes the hegemonic codes of femininity.
Young girls may grow up watching popular Disney animated features, such as Cinderella, which center on female protagonists who are obedient, passive, domesticated, and accept the status quo. While more recent Disney animated feature films are evolving to include more complex female characters, these films remain to be novelties. There is still a trend of princesses amongst young girls, which can be seen in the growing merchandise industry. Independent and fierce protagonists, such as Merida from Brave, deviate from the norm, but when it comes to merchandising, their idiosyncratic, rebellious qualities are removed. Merida differed from other Disney princesses with her style and personality.
Abstract: This term paper studies about the personality development of the Disney fictional character “Merida” from the movie “Brave” in the light of the two theorist i-e, Alfred Adler and Karen Horney. This paper will try to enlighten which theory is more influential in describing the characters personality. Princess Merida is a teen rebellious tomboyish daughter of King Fergus and Queen Elinor, belongs to a Scottish Kingdom. Merida’s mother anticipates seeing her daughter as an elegant majestic lady. She wants her to follow her ancestors and do things in a pleasant and civilized way.
he dwarves could also be interpreted as Walt Disney 's employees and the prince as Disney (Bell et. al 38). In reference to the present, critics often scrutinized Snow White as one of the common Disney movies that demonstrated the need for women to constantly wait or their prince to make everything better and take no action on their own (Bell et. al 36). This idea was further analyzed by M. Thomas Inge, Professor of Humanities at Randolph-Macon College, who mentioned that when Snow White sang the song “Someday My Prince Will Come” which encouraged girls to wait for their prince patiently and filled their brains with unrealistic romantic expectations (Bernard qtd in Inge).
This repetitive plot line is in the early Disney Princess movies, Snow White, Sleeping Beauty, and Cinderella and in more recent releases like Beauty and the Beast, The Little Mermaid, and Tangled. These media images, like media messages from other sources, reinforce the gender binary of heteronormativity in young children (Palczewski & DeFrancisco, 2014). Heteronormativity is how social institutions, such as Disney, “reinforce the presumption that people are heterosexual and that gender and sex are natural binaries” (Palczewski & DeFrancisco, 2014, p. 16). Thus, the formulaic plot line that Disney Princess films follows communicates to children that the normal and only sexual orientation is heterosexual and more specifically, to young girls, that marrying a man is the only way in which her life can be
Silber. Its main points focused on the antagonist mother-daughter dynamics as they appear in fairy tales. I was particularly interested to discover the role of the wicked stepmother in the heroine’s path toward “femininity” (Fisher and Silber 123). In this source, the authors discus that in the absence of the heroine’s true and righteous mother, her pathological stepmother is “the only available, living ‘model’ of feminine maturity” (124). And since the stepmother was put under severe social criticism, the heroine’s ‘reaction’ was to associate herself with “the passive, feminine identity of the first queen, avoiding any identification with the active principle embodied in the characterization of the bad mother/witch” (124).
These are all archetypes commonly found in classical fairytales and they each posses certain traits. Though these aren't the only ones and there are exceptions, these will be the only ones presented in depth here as they are the most commonly reoccurring ones. Fables exemplify the ways that social structure, and the patriarchy, attempts to hush and mistreat women by portraying them inactive. A significant part of the tall tale writing strengthens the thought that women ought to be wives or mothers, compliant and benevolent. Ladies in stories are to be quiet and passive, without aspiration, lovely and eager to wed.
Mrs. Coulter was very strong and full of powerful. Her powers came from her feminine wiles and tricks. She was insincere, shows the love and kindly emotion to Lyra, but from inside she had another feelings and plans towards her daughter. In the first of the novel she acts as the guardian for Lyra, but finally Lyra knows that Mrs. Coulter actually her mother. When Mrs. Coulter meets Lyra, she represents a sort of womanhood that Lyra finds attractive and charming.
Spencer’s Faerie Queen conceptualizes the origin of love and justice and the way they have become the conventional expressions of human desire. My argument is centered on an androgynous image of Britomart, the female protagonist in Book 3. Androgynous characters show the harmony of subsumed sexual contraries, in this case Britomart is visible having a combination of both masculinity and femininity. Britomart undergoes a transformation from feminine to masculine the moment she sees the image in the mirror. The disguise of a Knight which she adopts makes her shed all the familiar contours and in that disguise she is able to find her true self.